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You’ve heard of Wanda Sykes because she’s probably one of your favorite comedian’s favorite comedian. Sykes isn’t limited to the stage though, gracing TV and the silver screen opposite stars like Don Cheadle, Larry David, Julia Louis-Dreyfus and countless others. Her voice can even be heard in the kids’ movie series Ice Age and in recent episodes of the Netflix hit BoJack Horseman.

Sykes is a veteran of the show business universe, getting her comedy start in the late 90s before joining the writing team of the celebrated, Emmy-winning Chris Rock Show. Since then, the prolific comic has acted in, produced and written everything from pilots and skits to feature films.

With a creative hand in diverse projects, Sykes has always had a soft spot for the art and freedom of standup. On her current Oh Well Tour, she’s tackling the nation’s political atmosphere and social issues, and the ins and outs of her own family life. We got to catch up with this tremendously funny wonder woman before she takes the Strathmore stage on November 3.

On Tap: Comedy specials and standup performances seem like a time for comedians to share their thoughts and feelings about the world with audiences. Is that how you look at it?Wanda Sykes: I like to give you a snapshot of the lay of the land and what I think is going on with social issues and other things that are important to me. I spend a lot of time with my family, so I talk about that too. I’m trying to do it in a way that we can actually talk about things but have fun with them. I want to do it where we’re having fun and it’s not angry and saying everybody else is f–ked up. You want to point out hypocrisy on both sides.

OT: Your next comedy special will be on Netflix, but you’ve reportedly been critical of their offers in the past. What changed? WS: I was speaking out more so in support of what Mo’Nique was saying. You have to get an offer you can live with, which is why I went with Epix for my last special. This time around, I was able to make a deal with [Netflix]. It’s great to be on that platform, because they reach so many people worldwide and that’s a great place to further your audience.

OT: You’re one of the most prolific comedians in entertainment, from writing and producing to doing standup. How do you choose what projects you want to do? What’s that process like?WS: It’s about quality, [whether] it’s saying something or flat-out funny. It has to speak to me, and it has to be something I can make better. You have to tailor your approach to the project. If it’s writing, you have to discuss stories and what you want it to say. You go from there, [and] find out the best ways to service the project.

OT: Do you approach performing onstage differently than in a scripted setting?
WS: Onstage when you’re doing a live show, it’s total freedom.
Every show I’ve done, there will be [at least] one thing that comes to me onstage. It’s exactly that [freedom], and that’s the beauty of standup.

OT: It feels like more often than not, comedians take flak from anyone and everyone. Has that become more prevalent in your industry? How has comedy changed over the course of your career?
WS: It’s more eyeballs, but it’s also the access. The thing that drives me nuts the most is the cell phones at the shows – people recording the comics when they’re working stuff out. A lot of bits can get taken out of context when that happens. You’ll [see] someone and think they’re funny, and then you’ll see a clip that’s not and it’s because they’re still working on it. That hurts comedy and now when we’re onstage, we’re thinking about those repercussions.

OT: When President Trump was elected, some people thought that comedians would have a field day since politicians can be easy targets for jokes. Do you think that’s true with him, and will you work him into your standup at Strathmore? WS: Oh, I’m totally going to talk about him. The thing is, there’s no comedian out there funnier than Trump. It’s hard to do a parody of a parody. You can’t make up the things that he says. For all presidents, there’s always been a nice debate because everyone isn’t for the same things. But you have to be able to go back and forth and talk about it. With this, things go straight to rage on both sides.

Catch Sykes at Strathmore on November 3 at 7:30 p.m. Tickets are $35-$115 and can be purchased at www.strathmore.org.

A revisiting of Mid-Atlantic roots, Capitol Cider House’s local influence can be felt at every touch point, from the product it sources to the design aesthetic in the Georgia Avenue space. The Petworth newcomer opened three months ago and has been a welcome addition to the booming neighborhood.

Speaking of being neighborly, there’s a heavy emphasis on all things local with a commitment to sourcing within a 200-mile radius of the U.S. Capitol Building. The industrial space is outfitted with reclaimed wood pieces and splashes of patriotic red, white and blue – with a back-wall mural executed by DC creatives No Kings Collective. The open layout features community seating with high tops scattered throughout the main space, a smaller private room dubbed the “Brewer’s Table” and an outdoor patio.

Founder Jared Fackrell first started experimenting with cider two years ago after a family trip to the Finger Lakes in New York. There, he and his wife found themselves at a cider house where they were struck by the complexity of flavors, crispness and wine-like taste of the ciders they sampled. They returned to DC joking about creating their own cider, prompting Fackrell to purchase a how-to book on cider production.

The jokes materialized into a hobby where, armed with his Amazon Books purchase, prior homebrewing knowledge (he had brewed beer years ago) and self-built equipment, Fackrell set off on a course that would eventually lead to opening Capitol Cider House.

DC’s newest cidery arrives at a time when local and regional cideries are on the rise in popularity and growth. According to the United States Association of Cider Makers, dollar sales of craft cider increased 39 percent in 2016 when compared to 2015 and in the past year, market share grew 30 percent for regional ciders.

As members of a CSA (community supported agriculture), Fackrell and his wife saw the value of reconnecting with food and knowing where produce comes from – a big driver behind his devotion to keeping that local flair for Capitol Cider House. When asked what he thinks is the driving force behind the renewed interest in cider both regionally and nationally, Fackrell notes, “Part of it stems from this reconnection of where your food is coming from. Folks are starting to revalue the taste of something over the appearance.”

The local curiosity of knowing where food products are sourced and how they are made is evident come pressing time at the cidery. Every Monday through Wednesday, the team clears the main space for apple processing: furniture is pushed back, sleeves are rolled up and 3,000 pounds of apples are pressed. Passersbys can get a not so behind-the-scenes look at what goes into this process courtesy of the floor-to-ceiling window storefront. Fackrell notes that many a curious pedestrian has stopped to peer in, press a nose to the glass and take a video, helping to demystify how it all works.

With two cideries already on the DC scene, Capitol Cider House’s approach is distinct from its counterparts. Those with a palate geared toward craft beers will likely be intrigued by Ivy City’s Supreme Core offerings, whereas guests with a penchant for Spanish wines or Basque-style cider will find appealing options at DC’s first cidery, Anxo. In contrast, Capitol Cider House will focus on the barrel-aging process to produce smaller-batch ciders, fortifying them to create an apple, port-like product.

Twelve taps behind the bar feature 10 ciders, including Anxo and Supreme Core, with the remaining two saved for mead and beer. The menu also includes over 30 bottled ciders. Not sure where to start? Opt for a flight of four ciders chosen at the drinker’s discretion or preselected by the cidermaker.

As for food, the cidery partnered up with Union Kitchen alums to bring local, homegrown fare to the table. Guests will find Sri Lankan street food in the form of roti and sambol from Ten Tigers Parlour’s Short Eats pop-up, as well as a slew of Colombian-style empanadas from M’Panadas. Additionally, the food menu includes cheese plates and hot dogs with hamburgers coming soon.

In the next few months, expect another collaboration with Distillery Lane Ciderworks near Frederick, Maryland (Fackrell worked with the distillery to produce his first house cider Quincey, which has since poured its last drop), cold weather cider options (think mulled versions perfect for the impending cooler temperatures) and more house products added to the tap list.

Sunday jazz brunch is a recent endeavor that will likely become a mainstay, a nostalgic nod to Fackrell’s days as an undergrad in New Orleans. Customers can expect more food pop-ups, events with guest bartenders showcasing cider in cocktails and other fun collaborations.

Three months in, the neighborhood’s reception of Capitol Cider House has been warm and welcoming – the bar even has a group of regulars. But Fackrell isn’t ready to slow down yet. With the apple harvest coming up, he’s already thinking ahead and excited about producing cider and “introducing more of our products under the tap list.”

To those still unsure about the cider craze?

“I would offer that most people who come in here and don’t know anything about cider who are willing to at least try, some of them will walk out with a different impression – the same way that I walked out up in New York.”

Visit Capitol Cider House on Thursday and Friday from 4 p.m. to midnight, Saturday from 11 a.m. to midnight and Sunday from 11 a.m. to 10 p.m. Learn more at www.capitolciderhouse.com and follow the cidery on social media at @capciderhouse.

Mixed martial arts (MMA) holds an interesting spot when it comes to the DC sports hierarchy. Known as a fight town, DMV residents tend to sway more toward boxing as the DC area has historically offered the squared circle a true home for locally bred talent and big events.

The PFL separates itself from other MMA promotions by instituting a tournament system between the top eight fighters in each of its six divisions. The PFL 2018 season will conclude on December 31, with six championship fights back-to-back and a $10 million prize pool.

PFL 10 offers a boon for fight fans who have followed the sport over the past decade, with veterans like former Strikeforce champion Jake Shields, Ultimate Fighting Championship (UFC) vets Rick Story and John Howard, and other talents such as Abubakar Nurmagomedov and Louis Taylor.

Fights at the top of the card include Shields vs. Ray Cooper III (who square off in a rematch after Cooper bested the veteran by technical knockout), Eddie Gordon vs. Andre Lobato, and Howard vs. Shamil Gamzatov – to name a few.

“There is an appetite for the very, very high end of fighting, whether it’s [boxing’s] Pacquiao and Mayweather or [MMA’s] Conor McGregor,” says MMA journalist Luke Thomas. “But the midlevel has been harder to cultivate [here in DC]. The PFL is trying to tap into that, and even though some of the guys aren’t the best of the best anymore, it’s good fighting. It’s a big test, it’s critical. But the question is how difficult is [getting people to the event].”

Thomas, of MMA Fighting and SiriusXM’s The Luke Thomas Show, is a DC native and says there has been a general interest for the sport dating back to the days of DC promotion Ultimate Warrior Challenge. The promotion featured early bouts of eventual UFC standouts John Dodson, Brendan Schaub and Mike Easton. But because of commission issues in DC and big markets like New York City only a few hours up the highway, big MMA fights have largely eluded the city.

“Part of this is DC hasn’t had a DC fighter breakthrough,” Thomas says. “It’s a newer fight community, and I don’t think they know enough about the sport. There’s a fight community, but it leans more toward boxing, and this new audience doesn’t know all the practices.”

Despite this, Thomas and I are in agreement regarding the talent on PFL 10. More high-level fights in the District could further the sport’s exposure, perhaps making way for breakthrough stars and additional can’t-miss fight cards.

“The PFL will bring many talents that are pretty damn good,” he continues. “A lot of these guys have been floating just outside the UFC ranks. There are definitely some fights to look out for, and you have an undercard with good veterans. These are all legitimate fighters.”

The fight card will represent one of the first large-scale events to take place at the city’s new venue. In addition to featuring touring sports like the PFL, e-sports and concerts, the 4,200-seat arena will also house the Washington Mystics and the Wizards’ new NBA G-League team, the Capital City Go-Go. The completion of the 118,000-square-foot St. Elizabeths East is the culmination of a year-long construction process that cost the city about $69 million.

While there’s currently no boxing cards scheduled for the arena, there’s little doubt DC’s newest building will host bouts in the future. Fight fans in the District yearning for high-level combat sooner will be treated to the PFL 10 and a collection of MMA talent from around the world.

“I guarantee that when the card is over, we’ll have been treated to quality MMA,” Thomas says.

Don’t miss the PFL 10 on Saturday, October 20 at the new St. Elizabeths East arena. Visit www.pflmma.com for more information and to purchase tickets.

Avanti Fernandez and Tommy Smolka’s epic warehouse parties were just the beginning of a much bigger project. When a mutual friend introduced the likeminded DJs in 2013, the pair had instant chemistry. Fernandez (Mane Squeeze) and Smolka (Mista Selecta) quickly discovered that they shared numerous traits, including a penchant for drawing inspiration from musical genres heard around the world and an affinity for dancehall and trap music. Even their DJ monikers share the same initials. Not to mention, they’re both Geminis.

The pair joined forces as Jungle Fever, curating and hosting DJ parties around the city and performing together at a range of local venues including U Street Music Hall. They’ve picked up momentum in the past five years, making waves in the DC scene that have rippled toward New York and Philadelphia where they’re now building a base. This month, they’ll be spinning at Trillectro Music Festival at Merriweather Post Pavilion. On Tap sat down with the DJ duo before their September 22 show to talk teamwork, influences, plans for Trillectro and their favorite places in DC.

On Tap: How did you choose your name?Avanti Fernandez: Jungle Fever is a party concept we created years back. The concept is tropical vibes exuding high, intense, animalistic and wild [energy].Tommy Smolka: It’s a combination of world dance vibes incorporated into newer rap or trap. Everything we mix together as Jungle Fever makes it really like a jungle. We get all types of people at our parties, just like a jungle has all types of animals. I think it’s one of the most diverse parties out there, and that was a goal.

OT: How would you describe your individual styles as DJs?AF: When I first started, a lot of DJs specialized in one sound. For me, it was more about not limiting myself. I consider my style to be eclectic and I try to be as eccentric as possible. I am Jamaican and Puerto Rican, and I try to pull from my cultural characteristics – whether it be in a set, at a party or in a mix.TS: My name [also] comes from Jamaican culture. Dancehall and reggae were in very heavy rotation early on. That was a big connection we had. But, I’ve been DJing for 13 or 14 years now, so anything goes. I can play literally anything – any style.

OT: Who are your most major musical influences?TS: DJ Jazzy Jeff, Underdog, DJ Alize and
DJ Blaqstarr. I look up to M.I.A. a lot.AF: Childish Gambino – how multifaceted he is as an artist and how he created his own path. I saw a lot of myself in that. DJ K-Swift from Baltimore was one of my greatest DJ inspirations, too. I remember going out to see her perform at The Paradox. I’d be mindblown there was a lady behind the decks. And I’d be like, “Yo, I wanna do that! I wanna be just like her.”

OT: What made you both decide to link up and DJ together?TS: We were throwing the warehouse parties for like a year before we started Jungle Fever.AF: I was throwing events not too far from here, at 411 New York Ave. in the warehouse. I heard Selecta was looking to DJ and I was like, “Yeah sure, bring him on through.” He came and ripped it. I was in love with his set. As soon as he dropped some reggae I was like, “Look at this boy! Who the f–k is this? What is going on?” So ever since, we vibed. [We] figured out that we were both looking for a way to express ourselves together.

OT: What’s your favorite part of working together?TS: Since day one, it’s been easy for us to work together. We get along very well. We never planned to do this; things just came naturally.AF: It was very organic. It’s great having somebody you can be open, honest and very transparent with, especially going through some of the obstacles we’ve gone through and dealt with together. He’s a great teammate, you know? That’s my boy.

OT: How have your styles evolved over the years you’ve been DJing together?TS: We’ve been doing parties and stuff for six years, and I was DJing before that for eight years. I look at it as I would any other art form. You’re never going to stop evolving. You learn new techniques, you learn new sounds.AF: It starts with learning about [DJing], emulating others, learning from others and taking what you learned. For me, it was taking what I’ve learned, building on it and developing my own style.

TS: It’s harder for me to talk about me. I’ve seen you evolve. I remember when you first started DJing. The first year or so, you were in your learning phase, but you were rockin’ though.AF: I could see him growing and really branching into a new sound, like exploring and experimenting with new sounds. You know, things I would never hear Selecta play, now I’m like, “Whoa, this energy – it’s different!”

OT: How would you describe the DJ scene and overall music scene in DC?AF: It’s monumental. I mean you feel it, you hear it, you see it. Every time you turn on your radio you hear GoldLink’s “Crew.” Artists are really putting on for the city and I think it’s nationwide, [even] worldwide. DC is seen as a new hub [for music]. Even travelling to New York, everyone is like, “What’s happening in DC? We love what you’re doing there. Can we bring that same energy here?”TS: Yeah, the music scene is at an all-time high for sure. I still think we have some of the best DJs in the world. That’s why I really appreciate the people who hold us to a higher standard, because we’re some of the best. Every time we go to different cities, I really see that.

Tommy’s Must-Haves
Weed
Women
Chicken
My dogs
Coca-Cola

OT: What are some of your most memorable experiences while DJing?AF: I think we have the same one because we always talk about it.TS & AF (in unison): Afropunk.AF: It was that weekend! Trillectro on Saturday and Afropunk on Sunday.TS: That was in 2014. That’s probably our best shared experience, besides all the Jungle Fever parties. Every Jungle Fever party is like my favorite party, and your warehouse parties.AF: Oh yeah!TS: The parties she used to throw that I DJed at were like the craziest, literally. We’ll never get to do anything like that again.AF: It definitely was an era.

OT: What do you guys like to do when you’re not DJing?AF: Travel. That’s kind of broad, but I’d rather just work, stack my money and travel. I like learning about myself and different cultures and broadening my horizons. I just got back from New Orleans, which was pretty cool. I’ve been back and forth between cities [like] New York. I was in Costa Rica this June. Whenever I can, I try to get out of here [and] live a little.TS: I like to watch movies, and I have another creative side that most people don’t know. I do photography, video and graphic design.AF: That’s the beauty of it. A lot of the work, we do ourselves behind the scenes like the graphics, the photos and the videos.

OT: What are some of your favorite spots around DC? AS: For food I like Silvestre Chicken. I’m actually a pescatarian so I go there for the charbroiled shrimp. I also like Oohh’s & Aahh’s, Po Boy Jim [Bar and Grill] and Wiseguy [Pizza].TF: Wiseguy is number one, and DCity Smokehouse.AS: For concert venues, I like 9:30 Club, Flash and U Street Music Hall.TF: Flash, 9:30 and Velvet are my three favorites.

OT: How are you preparing for Trillectro?TS: We’re getting our special guest in order, and theatrics.AF: We want to outdo ourselves from the last times we performed.

Jungle Fever Must-Haves
Weed
Good sound system
Positive environment
Open-minded people
Energy (the more people, the more energy)

OT: Who are you guys most excited to see perform this year?AS: SZA for sure. She’s definitely the first female headliner. All the ladies that are rocking: Rico Nasty, The Internet, Sheck Wes and Carnage.TF: I’m definitely excited for The Internet, Playboi Carti and Snoh Aalegra.

OT: What’s coming up for you two? AF: We’re going to take this party on the road. We’re excited to have Jungle Fever in New York.TS: Yeah. Jungle Fever is expanding. It’s going to be a regular in New York now, because we have a 50-50 base here and in New York and Philly. We’re going to keep expanding it. Other than that, definitely a lot of music, I know I’m about to put out a lot.

Catch Jungle Fever spinning at Trillectro on Saturday, September 22 at Merriweather Post Pavilion. Doors at noon, tickets start at $60. For updates on Jungle Fever, follow Mista Selecta and Mane Squeeze on Instagram at @mistaselecta and @manesqueeze.

Don’t label The Eleanor just a bowling alley. It’s much more than that, according to founder Adam Stein.

Ever since he was a student at Antioch College in Yellow Springs, Ohio, Stein dreamed of opening a lounge with a bowling component to make it a multi-use entertainment space. That vision is realized with The Eleanor.

“You can come here for lots of different reasons,” Stein says. “You can come here because you want to bowl. You can come here because you want to play pinball games. You can come here because you want to have a three-course meal. We’ve got tons of events booked already and through the end of the year.”

Since opening June 19 in NoMa, The Eleanor has offered a place to enjoy 20 beers on tap, well-crafted cocktails, a projector for movie nights and, of course, two mini-bowling lanes with duckpin-sized balls.

The lanes are 45 feet long as opposed to the standard 60 feet, which Stein says can be harder, but it’s also a lower bar of entry. The floors aren’t waxed, so there’s no need to change shoes to play. Also, all of the balls are four pounds. While it’s best to reserve a lane and prepay online, walk-ins are accepted on a waitlist basis. Pricing is $10 per person for one hour of bowling with a $10 ball rental fee.

If you’re not interested in giving bowling a spin, choose from arcade games like Mortal Kombat 3, Pac-Man and Battle Royale, or head over to the Skee-Ball lanes.

When describing The Eleanor, Stein says he didn’t want anything “super slick” or “overly designed.” Instead, he opted for a laid-back but funky lounge with a hometown vibe. There are counter-height tables instead of low-tops to add to the casual atmosphere, and the local focus is found not only in the ingredients but in the name itself, which is a reference to DC Congresswoman Eleanor Holmes Norton.

The menu adds humor to the spot with cocktails like Wildflowers Don’t Care Where They Grow. Other drinks are named after friends and family such as Jody’s Appletini, inspired by Stein’s mother as appletinis are her favorite cocktail. There are also two refreshing vodka slushies made with Spring 44 vodka, one with house-made horchata and Zeke’s cold brew coffee and the other with a house-made lavender lemonade.

The fare might seem typical at face value – burgers, nachos, fried chicken – but each dish has its own original twist. The buttermilk fried chicken thighs come with masala-spiced carrot puree and braised greens with a bacon and fish sauce. The chicken wings are coated in a General Tso’s-style sauce, the hushpuppies are made “elote loco-style” and the loaded hot dogs come with the optional add-on of kimchi.

Along with its quirky menu, The Eleanor offers a very convenient location across the street from the NoMa-Gallaudet Metro station. There is also free, onsite parking.

Stein considered Ivy City before settling on The Eleanor’s NoMa space on Florida Avenue. He was tempted by Ivy City’s warehouse spaces because they could fit full-sized bowling lanes, but he says he ultimately chose the right neighborhood.

“[NoMa is] only going to see an explosion of growth in the next two-and-a-half to three years,” he says. “We’re looking forward to it.”

By day, the foursome behind DC-based power pop band Bad Moves span career paths – from labor union organizer to NPR music editor. But by night, bassist Emma Cleveland, drummer Daoud Tyler-Ameen, and guitarists David Combs and Katie Park are focused on their budding music career.

Still beatific from their successful SXSW showcase this spring, the band has been keeping busy with their upcoming LP Tell No One. The record comes out on September 21 via Don Giovanni Records in conjunction with a release party at the Black Cat.

“A lot of the songs on the album deal with themes of having secrets that you keep inside, and the repercussions of either keeping secrets or coming out with them,” Cleveland says.

The band alludes to a few family secrets of their own on Tell No One while still maintaining a degree of mystery. Secrets of sexuality and criminality are woven into the limericks set to the band’s peppy, kinetic beats. Yet the truth is, the album is not about divulging secrets.

Instead, Tyler-Ameen says it’s about “exploring the things that are traditionally considered taboo [that you later realize] are markers of identity, yet you feel when you’re younger you’re not allowed to fully own.”

Tell No One is expected to resonate with all, as did their self-titled EP.

“I don’t know if we necessarily started the band thinking in particular about a demographic,” Combs says. “I don’t know if that’s a word we even used with each other.”

Instead, Bad Moves relies on chance when creating music that sits well with their broad audience – the chance that their personal experiences, or the feelings evoked from those experiences, will be commonly shared.

The bandmates have relied on each other to craft their sound over the past three years, drawing on 90s pop punk and rock sounds that resonate with most older millennials. Combs says he and Park were the main collaborators on Tell No One, and then brought in the rest of the band to “shape it more in our own collective image.” Bad Moves has no lead singer, so the four musicians each share equal vocal responsibility in the band.

“Our intention is to take the focus away from one particular identity as being the central face of the band,” Combs says.

Picking a band name – on a car ride to a recording session at American University – was one of the only items on their ever-growing to-do list that didn’t require too much thought.

“One name I remember pushing for – and now feel relief that we didn’t go with – was Bad Wiz,” Cleveland says. “That would have been bad.”

Combs chimes in, “We also had Wet Hands. It’s hard to know what kind of name will suit your needs early on.”

The process of forming their sound, on the other hand, was a different story. Cleveland says the band made a lengthy playlist of power pop – around 180 songs – that inspired their eclectic sound. The first track on the playlist, which coincidently had the most impact, is “Looking For Magic” by the Dwight Twilley Band.

“You can tell from the lyrics that there’s a sort of desperation,” Combs says of the 1977 classic. “There’s this thing that eludes to magic. There’s a sadness to that sentiment, but the energy of that song is really lifting, inspiring and powerful. It’s a song that’s not ignoring that the world is a hard place to be in, but it’s also something I can put on that will push me through – and that’s what we want our music to do.”

Don’t miss Bad Moves at Black Cat for their record release party on Friday, September 21. The Obsessives and Ultra Beauty will open. Doors are at 7:30, tickets are $10.

DC heat got you down? Feast your eyes on some of the District’s most iconic fountains and maybe even dip a toe in a few of the city’s kid-friendly water features, because we’re all kids at heart during the dog days of summer, right?

Photo: Aja Neal

7th Street Park Fountain, District Wharf700 Wharf St. SW, DC
While you can often find little ones dashing through District Wharf’s water feature, all are welcome to partake in the fun. And don’t be afraid to take a seat on one of the plastic rocking horses either.

Photo: Aja Neal

Bartholdi Fountain, U.S. Botanic Garden100 Maryland Ave. SW, DC
Designed by Frederic Auguste Bartholdi, also the talent behind the Statue of Liberty, this massive water feature stands at 30 feet tall. Its original home was Philadelphia, and the gorgeous structure now rests on the grounds of the U.S. Botanic Garden. Stop by and admire this Gilded Age stunner on your next garden adventure.

Photo: www.landcollective.com

Canal Park Fountain, Capitol Riverfront200 M St. SE, DC
Canal Park is a sustainable community hub open year-round but is especially vibrant in the summer due to its built-in, ground-level illuminated water features. Take a dash through the water on your walk to Nats Park or people watch on one of the many benches or colorful chairs.

Photo: Aja Neal

The Court of Neptune Fountain, Library of Congress68 1st St. SE, DC
Neptune and figures of the Tritons touting their conch shells keep watch over this Library of Congress fountain. It’s especially stunning at night, with lights adding to the majestic nature of the bronze Roman statues.

Photo: Aja Neal

District Square Fountain, District Wharf100 District Sq. SW, DC
While not for sitting or splashing around in, this elegant fountain is a welcome sight for those perusing District Wharf’s shops and restaurants on a beautiful summer afternoon.

Photo: Fareeha Rehman

Dupont Circle Fountain1 Dupont Cir. NW, DC
Flanked by benches, trees and plenty of shade, this marble memorial fountain is smack dab in the middle of Dupont Circle’s many bars and restaurants. On the weekends, you can often find events, live music and more taking place near the iconic structure.

Photo: Fareeha Rehman

Georgetown Waterfront Park3303 Water St. NW, DC
Try walking through the space in this arching fountain without getting soaked or go all-in on a hot day. Located right on the water in Georgetown, it’s the perfect (free!) post-dinner and drinks pit stop.

Photo: Aja Neal

Summerhouse Fountain, U.S. Capitol BuildingWest Front Lawn, Senate side of the U.S. Capitol Building in SE, DC
If you’re craving respite from the tourist-filled grounds of the National Mall, look no further than Summerhouse. This shady grotto has a water feature inside with seating for more than 20 people, tucked away on the outskirts of the U.S. Capitol Building.

Photo: Fareeha Rehman

Tivoli Fountain, Columbia Heights1445 Ogden St. NW, DC
This colorful fountain is nestled among the shops and restaurants in Columbia Heights. You can sit on one of the surrounding benches to cool off after a shopping spree or sprint through it if you’re feeling adventurous.

Photo: Aja Neal

Water Feature, Yards Park355 Water St. SE, DC
This cascading water feature is a great spot to fully splash around in or just admire on your next visit to Capitol Riverfront. It’s surrounded by lots of grassy park space, so you can even settle in for a sunny picnic.

Rum is so much more than the liquor component of a piña colada. We chatted with three local experts about the vibrant world of rum and tiki, and the best drinks their spots have to offer in honor of National Rum Day on August 16.

Owen ThomsonOwner, Archipelago

On Tap: Tell me about the different rums featured on your menu. Owen Thomson: Rum is one of the most varied spirits in the world because no other spirit is produced in as many places. It’s made from sugarcane – most are made from molasses – and you’ll find a few producers making it from fresh-pressed sugarcane juice. There’s a whole manner of ways people try to classify rum, and the easiest way that I was taught has to do with colonial pieces: there’s English, French and Spanish.

OT: How do you decide which style of rum goes in which drink? OT: Tiki has a pantheon of classic cocktails that call upon certain styles of rum, but more interesting is the fact that most of them call on multiple rums. So rather than a drink needing two ounces of Jamaican rum, you might have three different rums in a tiki drink, which creates a drink you really can’t get anywhere else.

OT: What’s your favorite drink on the menu and why? OT: I always enjoy the Mai Tai. It is obviously an old school drink that people who don’t even work in tiki learn how to make. It was my introduction to this style of drink, so figuring out our Mai Tai blend was one of my favorites.

OT: What sets Archipelago apart from other bars that heavily feature rum-based drinks? OT: We are the only tiki bar in the area. This time of year, you’ll see a lot of tiki menus or people will flip their outdoor bar for a summer tiki menu. A lot of people switch to rum this time of year, but we do it all year. Tiki is only partially about the drinks. It encompasses the whole vibe, [including] the décor. If you don’t have that, you don’t have a tiki bar.

On Tap: Your menu features a wide array of rums, and a key to what rums are similar to other types of liquors. What inspired your expansive, detailed menu? Gavin Nazareth: A lot of people aren’t into rums and don’t know what good rums are. If you’re a bourbon drinker, there are rums that we have that will closely mirror a bourbon flavor. Obviously, rums are a little sweeter than bourbons or whiskeys or scotches that might have a bit of a bite to them.

OT: Can you tell me about the flights you offer?GN: We encourage people to try our rum flights because you get to taste different flavors. They’re only half-ounce pours – that way, you can get a flight or two and still be okay. You can do a Spanish, English, aged or spiced flight.

OT: What are some of the big differences between rum styles?GN: Spanish and English styles are boiled down, so they’re close to a honey or molasses. Once you have that concentrated flavor, you add water and yeast to it. The French style is different – it’s almost like a gin. You take out the sugarcane juice and add yeast, and they’re more on the botanical side. Spanish and English are more bold and sweet, with a nice buttery finish.

OT: What’s your favorite rum drink?GN: We showcase a different rum every month, and this month we’re doing the plantation series. Plantation rums are from Barbados. They age them in Barbados and then bring them to France for an additional step. We have something called the Plantation Jungle Burn where we use pineapple plantation rum, fresh juices [and] campari, so it has a really nice finish.

On Tap: Tell me about the rum drinks you feature on tap.Brendan Mullin: We have two cocktails on tap, and a whole tiki menu that contains a lot of our rum drinks. One we have on tap right now is called It’s Not a Mai Tai, It’s Our Tai. It’s white rum, curacao, pineapple, orange – a lot of tasty tropical flavors.

OT: What are your favorite drinks on the tiki menu? BM: The Frog Smoking a Comically Large Cigar is massive, fun and has a ridiculous garnish in it, and has a blend of mezcal and rum. Our Zombie is also fantastic, but my favorite cocktail is the classic Mai Tai. In my opinion, that’s the best American cocktail. It’s a great way to try different rums.

OT: What about the non-tiki rum-based drinks?BM: On our house cocktail menu, we have the You Can’t Do That on Television that has three different types of rum. One [rum] is infused with jalapeño and [the cocktail] also has a pistachio orgeat, so it’s kind of a riff on a Mai Tai. You Can’t Do That on Television was a show on Nickelodeon back in the day, and the drink is green and looks like slime and is reminiscent of the 90s.

OT: What food pairs best with tiki or tropical drinks?BM: The best thing on our food menu to have next to our rum drinks is the pupu platter. It has a bunch of different food options like pork belly, wagyu beef skewers, half-smoke pierogies and crab tater tots. Anything that’s salty and has a tropical flavor to it will go really well with a sweeter tiki drink.

OT: What sets Bar Charley apart from other bars with tiki menus and large rum selections?BM: I’d say just how comprehensive we are. People ask us if we’re a classics bar, a tiki bar or a wine bar. The answer is “Yes” across the board. We have a great wine selection, we have classics and we’re creative on our own. We can also do tiki!

You Can’t Do That On Television Havana Club rumClément V.S.O.P.ChachoDry curaçaoLime juicePistachio orgeat

We could be corny and say he’s a jack of all trades, but indeed Jack Inslee is working hard to raise the bar in a variety of creative arenas in DC. After helping launch and then producing Heritage Radio out of New York City for several years, Inslee made his way to the District to team up with the masterminds behind the LINE Hotel to bring Full Service Radio to life. Inslee operates the live radio station out of the hotel’s lobby and brings guests and hosts from all cross sections of the city to a space where they can broadcast “the real DC” to the world. Inslee feels the station is starting to take on a life of its own, which is what he has hoped from the beginning. He likens himself to a traffic director, “trying to elevate what’s already happening in DC and what all the awesome hosts here do in their lives.”

When he’s not on-air at Full Service or traveling to promote DC’s creative community, Inslee can be found curating stages at Bonnaroo, DJing at Velvet Lounge, collaborating with local musicians, and hanging at Jimmy Valentine’s and Songbyrd, ever plotting new projects. And like the true DC convert he’s quickly become, he finds much-needed – though rarely gained – quiet time in the nooks and crannies of Rock Creek Park. We picked Inslee’s brain about Full Service Radio and his other ventures, and how he keeps a pulse on DC’s creative scene.

On Tap: You’re relatively new to DC from NYC. What’s the transition been like? Jack Inslee: It’s crazy. I’m almost approaching two years in the District and I say this all the time: I’ve become like a DC evangelist. I’ve basically fallen in love with the city. It continues to surprise me constantly. It’s definitely much smaller [than New York], but there’s more room to breathe and space to think. And I think that the things happening in this creative community here in DC are wildly overlooked and underrated. It’s a special place right now, and a special moment to be in this.

OT: You’ve been working on the much-anticipated – and now lauded – Full Service Radio since before the LINE opened last December. How is it growing and evolving?JI: I have been overwhelmed by the positive response that the network has gotten in these early stages. We are lucky to have a wildly incredible roster of hosts and collaborators that we’re working with. I couldn’t be luckier than to be in the LINE Hotel too, which is such an exciting space and place in the city. The energy here is just incredible. That public interaction is everything. But frankly, I’m not happy yet. It still feels like preseason to me. I’m never really completely satisfied, but that’s kind of what keeps things moving forward. I’m trying to improve every day.

OT: Do you have people walk into the radio station off the street and ask what you’re doing?JI: Oh yes, constantly – for better or worse. All the radio shows stream live into the [hotel] rooms as well as on the Internet, so sometimes we’ll have a guest come down just having listened to a live broadcast and they get to interact with the host and the guests. There’s this real-time response that’s really neat and exciting.

OT: How frequently do you bring new shows on board? Do you have a goal to reach a certain number per week?JI: I get flooded with so many requests and I want to embrace that enthusiasm. I don’t want to turn people away. I want to be a person that says “Yes” and welcomes those people in, but we’re definitely at capacity. We launched with 33 shows a week and we still have all of those shows. Come fall, we’ll have a handful more that will come on. My ears are always open for new ideas. At the very least, I want to accept every pitch and idea that comes in.

Can’t Live WithoutCold brew coffee with a tiny splash of milk and simple syrupA solid (even if messy) “to do” listTea Tree Therapy Toothpicks, mint-flavored Memes, jokes, good tweets – anything that makes me genuinely laugh and smile throughout the dayRelaxing music for a stressful day, energetic music for a shamefully lazy day

OT: Outside of Full Service Radio, are you still DJing and making music?JI: I definitely stay busy with travel, DJing and producing music. A really exciting project that I’m over the moon about is a new album I made with Odetta Hartman called Old Rockhounds Never Die, coming out August 10. Odetta is an Americana artist and I do experimental electronic production and manipulate her voice and all kinds of weird things. It’s like this f–ked up, futuristic cowboy/soul kind of thing. I’m also working with some other DC musicians, and always DJing around town here and there. And I travel around and interview people in other cities [including visits to the LINE in Austin and L.A.] as well to bring it back to Full Service Radio. [We’ll be] doing little pop-ups in those cities and then finding ways to bring DC stories to those cities to expand our reach.

OT: You are a big part of DC’s art and music communities, but you also have a history in food. How does it influence your life these days, especially being at the LINE? JI: It’s definitely become a real passion of mine over the years, and I think DC is starting to become known as a food destination as well. [James Beard Award-winning Chef] Spike [Gjerde] brought in [legendary Chef] Alice Waters as a guest on his show, so the food programming on Full Service is actually fairly robust and exciting. It’s one of the few places where policy conversations make it into the mix. And I do generally really draw from good food. Maketto is the first [place] I really fell in love with when I moved here. It’s like okay, I can get some really spicy bone marrow broth and some designer street clothes on sale? Cool. Yeah, that’s where it’s at. I just think that space is like a beacon for the city.

OT: You’re clearly excited about the creative scene in DC, but what concerns you most? JI: DC seems to be really concerned with DC all the time. Often times, it can end up feeling like a silo here where it’s just everybody talking to each other. I just wish people would get out more and reach out to people in other places more. That kind of goes against this whole community thing that makes DC super special, so it’s not to say abandon that. But to put it in blunt terms, there’s this weird inferiority complex or something. When people feel like they’ve hit the outer walls of DC, rather than just getting down about it, [people should] push past them. It’s something I’m always trying to fight against and help people with.

OT: Who are some of the people in DC you think we should keep an eye on?JI: Sir E.U and Tony Kill. They just put out an album called African American Psycho, and I think they’re both geniuses and they have been doing exactly what I was just talking about. They were just in L.A. and they’re pushing past the boundaries of the city. They’re crazy experimental and waving their own flag and I can’t say enough good stuff about that album. To me, that’s the stuff that’s giving me inspiration and part of why I love this city so much.

https://s3.amazonaws.com/ontapwp/wp-content/uploads/2018/07/HEADER-Jack-Inslee-at-Full-Service-Radio-Photo-Pierre-Edwards.jpg336650Courtney Sextonhttp://s3.amazonaws.com/ontapwp/wp-content/uploads/2016/09/OnTap_Magazine.pngCourtney Sexton2018-07-28 08:00:182018-08-14 16:19:14A Day in the Life: Full Service Radio’s Jack Inslee

Encouraged by family, Isabelle De Leon has been playing music since she was four and the drums since she was seven. But hers is not a story of a child prodigy forced into a life of performance at any cost. De Leon has talent in spades, and she marches to the beat of her own drums. As an early teen, De Leon found a deep connection in writing music. She has since made it her mission to use the power of music to inspire and heal, and she does it in hundreds of different ways. On any given day, you can find her jetting from one gig to another, running jam sessions, teaching music lessons, serving as an ambassador to the DC music community and being the kickass lady drummer in a rock band.

At 27, De Leon has already played major venues including the Kennedy Center and DAR Constitution Hall, is the recipient of countless music scholarships and recognitions – including a stint as a Strathmore Artist in Residence – and still finds time to rock out with local synth-pop bands Prinze George and Paperwhite, and funk/soul band Lionize. Even with her many accomplishments, the local musician remains humble. On Tap caught up with De Leon to learn more about her “constant learning journey” and how the musician incorporates her life experiences into the music she plays.

On Tap: You’ve played all over the country. What keeps you in DC?Isabelle De Leon: I’m from Montgomery County, so not far. I’ve always loved the city, and it was always a dream of mine to move here and be more immersed in the scene. It’s great because the music scene is very active so there are a lot of opportunities to perform and meet other musicians. What’s cool about being here is that DC is a much smaller city but there’s still a lot happening, and I feel like I can be part of creating something here versus where it’s already oversaturated.

OT: You started out playing music at a young age with your family. How did your relationship with music develop as a child? IDL: It was always a family thing. My whole family played music. My dad was the one who taught us music when we were really young. He was teaching us all piano, guitar and bass. When I was seven, he brought home a drum set and taught me some basic things. At that point, he started asking each of us which instrument we wanted to take lessons for. I think he had a vision for what to steer us each toward. Our whole family played at church every weekend, and that was where we really learned about music theory, chord structures, arrangements and how to play in an ensemble – the nuances of improvising, taking cues and listening to each other. Those things are really valuable and hard to teach in a classroom.

OT: What drew you to the drums?IDL: One of our favorite movies [growing up] was Selena, and it’s even more precious now because their story was very similar to ours. Their dad loved music and started them young, playing in this family band. I just remember that scene where he’s trying to get Suzette to play the drums and she’s adamantly protesting and she’s like, “Girls don’t play the drums.” And for some reason, I took that as, “Oh, I’m going to play the drums now and prove everybody wrong and show people that girls can play the drums.” So that was one of the reasons why I wanted to pursue it.

OT: It can be hard to make a career out of your passion. How did you make music both for you? IDL: When I was really young, I didn’t know any other female drummers except [Santana’s] Cindy Blackman, who I idolized and still do. I realized that I was in a very unique position being a woman on a male-dominated instrument, and also being a woman minority in the music industry. I realized there was a power in that, in being able to inspire young girls to go out for things that people were telling them they couldn’t do. In a way, that’s really what my mission is. It’s one of the reasons why I feel like I can’t ever quit, necessarily. I yearn for that kind of figure I can look up to myself, and if I can be that for someone else who needs a role model, I would love to be that person for them.

OT: How does being a Filipino woman in this space affect what you do within the creative industry in DC?IDL: Being a female drummer already sets me as a minority, and that’s something I’ve experienced my whole life. But one thing that I didn’t realize until I was much older was what my identity was and who I was. We grew up primarily around white people and because of that, I felt in a way more connected to American culture even though I know I don’t look “American.” But in Filipino circles, I didn’t feel like I fit in, in a way. That same kind of conflict came out when I started studying jazz music and participating in the DC music scene.

OT: What challenges have you faced breaking into the local jazz scene? IDL: Right now, I’m trying to get better at and play jazz, funk and soul music that’s oriented around really groovy drumming. There was an instance recently where it came to my attention that some people either roll their eyes at me when I come and play or they kind of judge me because according to them, I didn’t grow up in the “church” so I don’t really have a gospel background. That was hurtful because first of all, it’s not true. Also, music is supposed to be about camaraderie, sharing and connection. People who get hateful like that, or just bitter, defeat the purpose of what we do.

OT: You recently started a regular jam session at Pearl Street Warehouse. Is that a jazz series?IDL: It’s called Southwest Soul Sessions. It’s not specifically jazz per se. I actually started the jam session with Elijah Jamal Balbed, who’s also an accomplished musician here, and our goal with the session was to bridge all of our music communities in DC. I’ve done a lot of work in the rock and pop scenes, and he’s very heavy in the jazz, R&B and go-go scenes. We realized that together, we would have a vast network of people and we really wanted to bring all of them together. The great thing about jam sessions is that you’re playing with people you may have never played with before and may never again. But in that moment, you’re just trying to create something that’s different and bring all of your influences to the table. We really wanted it to be like a dance party too, and Pearl Street Warehouse is perfect for that.

OT: You are very accomplished and constantly working on different projects. What keeps you focused and awake? IDL: I’ve always known what my goals are. They’re pretty big, but I also have some that are more tangible like to be Beyoncé’s drummer. [Laughs] One thing that my mom taught me early on was to write down your priorities and goals and make lists of steps that you can take to get there. I make sure I check in with myself pretty regularly. My overall goals have been the same since I started to really pursue music, and I always keep that in the back of my mind. It’s really important to always remember your “Why?” It’s also important to take a break every once in awhile. There are days where I don’t do anything music-related.

OT: What do you enjoy doing on those days away from the music scene?IDL: I really enjoy movies. I love being adventurous and trying new things, whether it’s an activity I’ve never done or something like bowling or just going on a walk in a park. I love cooking and catching up with friends. Relationships are really important to me, so I try to make sure I stay in touch with the people who are important and make time for them. I also really love shopping. I don’t mind spending money to beautify my room, because I’m creating music there and it needs to be a place of inspiration and a beautiful place that I can relax in and enjoy. My room is pretty decked out and full of plants.